TV REVIEW: "Hannibal" Season Two

One of television's best dramas returned tonight for its second season.

When Hannibal premiered last season it was at the tail end of an onslaught of serial killer shows. Dexter was still huge on Showtime, Fox had just premiered its version of the genre in The Following and A&E tested the waters with a prequel to Psycho with Bates Motel. Prior to the premiere, many brushed it off as unnecessary and simply piling on to a genre that had already been exhausted. Essentially, everyone was wrong. Hannibal's first season was mesmerizing, beautifully rendered, heartbreakingly performed and one of the finest first seasons of any network drama I've seen. The show wasn't exactly a ratings juggernaut but NBC's renewal confirmed what everyone was beginning to see – this show was something very special and to kill it prematurely would be the ultimate sin.

Tonight's second season premiere,"Kaiseki," opened up in media res. A filming technique that is often abused but used masterfully here. The fight between Hannibal and Jack was unexpected, thrilling and so very uniquely choreographed. It begins with menacing reflections in each of the men's weapon of choice – touching on the show's theme of reflection – and then soars into the fight without a word of dialogue. An escalating dance of punches and knife slices, it's truly one of the better fight scenes I've seen staged for television and then of course...

"Twelve Weeks Earlier..." Ahhhhh!

"Kaiseki" expertly set the table (pun intended) for what's to come in Season 2. Will Graham is behind bars for murders he didn't commit – and tortured as ever – while Dr. Lector is free of any charges and has now joined the FBI as the new consultant. One of the more fascinating aspects of the series is Dr. Hannibal's relationship with Will and how we never know exactly what he is thinking or how deep his obsession with Will runs. Although we do get a better hint when he returns from his first day assisting the FBI and proudly proclaims "I got be Will Graham today." I really didn't understand how truly fucked up that is until I just typed it. With Hannibal assisting newfound killers instead of capturing them, the FBI are in for a tough road ahead and so is Will Graham. 

Left alone in prison with his frayed wits and horrifying visions, Hugh Dancy is doing award-winning work as Will. Behind bars, battling demons of his past to fight for his future. The scene where he simply asks about his dogs was heart wrenching. He needs to be with his dogs. He just does. Even though he's alone, Will still got to share plenty of scenes with mostly everyone tonight. The most tense of course, being with Dr. Lecter, a man who betrayed him after being his main source of compassion and understanding all of last season. I can't imagine what that feels like, but it can't feel good. I also really enjoyed the visit from Beverly, one of the CSI techs, as she briefed him and asked for guidance on the current case. It was as lighthearted as Hannibal gets and it helped break up the darkness of the premiere.

Of course, this wouldn't be an episode of Hannibal without some of the most arresting visuals in the medium. The image of the ink black face of the human / deer slowly rising out of the rushing river will never leave my mind. Never. Not to mention, the final shot of the episode as the camera slowly zooms out to reveal a swirled canvas of bodies, stitched together, all while the center body is still alive slowly realizing the hell he has awoken too. And all of this on top of gorgeously framed scenes and tableaus that are par for the course. It's dreadful and horrifying – really this show actually frightens me! – but in the process it's beautiful and truly awe-inspiring.

Hannibal's creator, Bryan Fuller, is known for having a clear vision for his series and running with it. While watching "Kaiseki" tonight, I found myself surprised just how clear that vision has gotten. While Season 1 was truly remarkable television, I feel like Season 2 has already set a new precedent. I loved that he didn't cater to new viewers and focus too much on a new case of the week but instead spent the time developing new shades of these characters. It's the rare network drama that takes the time to truly dig into exactly who its characters are and why we should care about them, and it showed tonight. The show feels assured and determined and more urgent than ever before. Hannibal is off to a dark, twisted, and damn brilliant start and I can't wait for more.

GRADE: A

Hannibal airs Fridays at 10/9c on NBC.

TV REVIEW: The Vampire Diaries - "500 Years of Solitude"

The rollicking vampire drama reached 100 episodes and celebrated by delivering the best episode of the season.

Back in the fall of 2009, in the height of Twilight hysteria, a little show premiered on The CW called The Vampire Diaries. Quickly written off as a "cash in" of sorts, the show faced an uphill battle proving the reason for it's existence. Hailing from Kevin Williamson and Julie Plec, the early episodes had a rather tonally awkward feel to them. On one hand, the Pilot felt very "Twilight-y" but subsequent episodes revealed a different, darker show striving to break through. In the show's seventh episode, "Haunted," it did just that. In a shocking twist, the show killed off a main character in such a gloriously dark, devastating manner that it proved just how far it was willing to go to mess with our emotions, its storytelling AND anyone on the show. In that moment, it announced itself, free of any baggage, as The Vampire Diaries, one of the best genre fantasy shows of our time.

Throughout the past five seasons the show has had so many standout moments it's essentially impossible to narrow them down. Sure, it's guilty of a few missteps here and there and there have certainly been stretches when too much time was spent on a wasted story line or an over-complicated mythology. But what matters most is that it always returns to its characters and their history and their home. This is its most important attribute because a show like this NEEDS grounded, relatable characters that you care about. Without them, who cares what insane, violent, unbelievable things happen to them? Because then, they are just that, unbelievable. Luckily, the audience cares about Elena, Stefan, Damon, Caroline etc. For a show that burns through plot as fast as the The Vampire Diaries does, it's a testament to this admiration and honor to its characters that the audience even has specific cherished moments to hold onto. For me, I'll never forget the moment Stefan whisked Elena up to the top of the ferris wheel in the second episode of Season 2, "Brave New World," or Aunt Jenna's funeral set to Birdy's "Skinny Love," or Elena finally being turned into a vampire after a harrowing car crash off the Mystic Falls' bridge in the Season 3 finale, "The Departed." So yes, the show burns through story lines and it doesn't always go down smoothly but boy do they make up for it in the long run. I've never lost faith in the creative team for a second and after five seasons, that's  saying something.

Tonight's 100th episode was a perfect mixture of continuing the present day plots forward while also taking a moment to pay some fan service to its history. If these creators have learned everything, it's that their fans are very passionate. In terms of my fandom, I'm always for whatever will service the story best as a whole, but from some of the things I've seen on the internet, that cannot be said for everyone. Last night's episode, "500 Years of Solitude," revolves around Katherine and her impending death. Naturally, this brings everyone together to sit around, drink bourbon and reminisce of all the times Katherine screwed them over. I can't quite explain the joy I experienced seeing everyone lounging around in the Salvatore mansion bitching about their individual history with Katherine and each other. The Vampire Diaries is often a very fragmented show so when an episode finds a way to bring it's large cast together, it usually makes for very good television. While this is happening, Elena, Stefan and Damon all get a special moment with the bedridden Katherine. Elena decides to forgive her (mistake!), Stefan has long since forgiven her of the pain she has caused, noting she has done what she needs to do to survive, and Damon can't get past his anger and resentment towards her so he can't do anything but torture her in her final waking moments. Of course, this is all for naught as Katherine has a plan — as she always does — and ends the episode swapping bodies with a defenseless Elena. If there's one thing Katherine Pierce will never be — it's a victim.

Before that madness that closes the episode, we are treated to two other big moments meant purely to service the fans. I bet some people could draw criticism from either one but as a big fan myself, I loved every second of it. Firstly, Caroline and Klaus in the woods. Klaus' return wasn't exactly a surprise but him and Caroline having a forbidden hook up IN the woods was. It was exhilarating and satisfying but at the same time, I'm a tad concerned that it will just be something of a one-off and not really affect Caroline in the grander scope of Season 5. I hope that's not the case and that the creative team will follow this through but either way it was thrilling. The other special moment was Bonnie explaining her new role as an anchor between the worlds of the living and dead which allowed for a glorious revolving door of past characters. Writing wise, it wasn't the most graceful of transitions, but that it allowed us to share moments with Vicki and Alaric was worth any awkwardness it took to make it happen. Damon and Alaric's bromance is one of the show's best creations and any chance to revisit it is A-okay in my book. Remember in the Season 4's "Memorial," where Damon drank his sorrows away at Alaric's grave, desperate for guidance on what to do next? Emotional brilliance, truly. When Damon said "cheers, buddy" to an invisible Alaric tonight, it spoke to the power of the character's relationship AND Ian Somerhalder and Matthew Davis' performances that the moment still resonated.

Simply put, this was a fantastic 100th episode. Equal parts honoring its past and servicing its future. I look at The Vampire Diaries as the story of a bunch of lost souls forming a family on their own and using that family to forge ahead in their lives and fight off anything standing in their way. As the show marches on, I hope they can start to set the pieces for an end game. I know the show is a huge hit for The CW but I would hate for the show to run too long and risk tarnishing it's legacy. For a show this complex, this detailed, this well-executed, it deserves its perfect ending. Basically, I just want to have 'The Vampire Diaries: The Complete Collection' on my self one day and I hope it's just that, complete. But really, why am I worrying? If a show looks this good in the middle of its 5th season, I should just sit back, enjoy the ride, and trust the powers that be. Long live, TVD!

The Vampire Diaries airs Thursdays at 8/7c on The CW.

MOVIE REVIEW: "Smashed" -- originally released: October 12, 2012

The 2014 Sundance Film Festival in full swing in Park City, Utah, so I decided to revisit a feature from the 2012 festival, 'Smashed.'

A film about addiction, recovery, and the life you choose to lead.

I've always been fascinated by addiction. Throughout the years, it's come to my attention that I have a fairly addictive personality as well. If I like something, I don't just "like" it, I consume myself with it. But THAT is an entirely different conversation. Naturally, stories of alcohol and drug addiction have always been something I've enjoyed – I realize how that sounds, but it's true. Smashed is a film that focuses on one woman's choice to get sober and facing the reality of her new life once everything isn't clouded by smokey bars, drunk bicycle rides home, and her husband, who in reality, might not be the best one for her.

Kate (Mary Elizabeth Winstead, in an unforgettable performance) is a schoolteacher who doesn't let her job get in the way of drinking — heavily — often in the car before her school day starts. Her husband, Charlie (Aaron Paul!), is a slacker music-journalist who mentions work frequently but never seems to actually be doing much of anything — he drinks a lot too. These two have fucked each other up pretty bad. Their bond in marriage is sealed as tight as a bottle of Vodka on their shelf. They seem in love but both share the poisonous disease of addiction. Example: Kate wets the bed, often. 

When we first meet them they are "happy" but it doesn't take long to see that their relationship is built on a shaky foundation of co-dependence and addiction over love of each other. Within the first ten minutes, Kate hits rock bottom in a blurred swirl of crack-smoking, public urination, and stealing – not to mention throwing up in front of her class of 1st Graders. One of Kate's co-workers (Nick Offerman), invites her to enroll in Alcoholics Anonymous and join him in sobriety. Hesitant at first, Kate reluctantly tags along one night is immediately taken by the people and their stories. After that night, she doesn't have another drink. It's here where Smashed really begins. How does a marriage built on sickness work once someone decides they don't want to be sick anymore?

Kate and Charlie's relationship is defined by mutual enabling but where the film thrives is watching the happiness and carefree spirit crumble into darkness and emptiness as Kate steadily starts to enjoy her life away from her husband and alcohol. Through a suggestion of her AA sponsor (the always warming and excellent Octavia Spencer), Kate decides to take a trip to visit her estranged mom in the country. Feeling a tad distanced from his wife, Charlie decides he wants to come along for the trip and Kate allows it under one condition – he can't drink. Kate's mom is an alcoholic, too. She is skeptical to hear about Kate's decision as she thinks nothing good can come from sobriety. When Kate's father got sober he packed up and left the family for good leaving Kate's mom to continually return to the bottle for comfort. Her warnings aside, Kate continues to believe and be happy in her new addiction-free life. Before Kate and Charlie leave the country, they visit Santa's Village, an abandoned amusement park Kate used to visit as a child. In the ruins of the park, they dance and hug and share several moments of real, honest affection to each other as the sun glistens off them. It's magical and one of the highlights of the film. For the first time, the two share an intimate, loving moment without an ounce of alcohol in their bodies. Of course, all their problems are waiting for them when they return home. 

Smashed hits a lot of familiar notes but it's aided in uniqueness by writer-director James Ponsoldt assured vision. There's no overly sentimental moment or major lessons learned that don't feel honest and earned. Smashed is essentially about the choices we have to make in life and how sometimes those choices can have a major affect on the ones we love and hold closest. Winstead and Paul give remarkable performances ensuring the domestic drama never feels forced or played out. Winstead, in particular, gives such an intelligently nuanced performance it's a shame she was hardly recognized for it. It's real in every sense of the word. Smashed isn't exactly an easy movie to watch but it's one that deftly walks a tightrope between pain and denial and that moment in life you realize it's time to be true to yourself and make a change – for you and not anyone else.

GRADE: A-

Smashed is available on Netflix via DVD only.
Find Smashed on iTunes here

Buy Smashed here

SMASHED

Directed By: James Ponsoldt

R, 83 minutes

Why I Loved NBC's "The Sound of Music Live!" And Why I'm Sick Of Internet Snark

Stop trying to make this the hate-watching event of the year. I'm not having it.

I'm going to make this quick. I think it was an extremely brave move for NBC to even consider going through with this idea – as the announcer proclaimed, something like this hasn't been done in over 50 years – but not only did they go through with it, they executed it with enough panache and technical grace to actually pull it off! The Sound of Music is a very touchy property to handle. The film version is beloved by millions, many probably reference it as their favorite movie of all time, and the stage production is equally adored albeit not as widely known. Getting fans on board for a new adaptation is hard, having that adaptation feature a country superstar and the lead from HBO's True Blood in the starring roles is even harder. Personally, I found the three-hour telecast to be pretty delightful. Was it perfect? No. Were all the performances groundbreaking? No. But did NBC just dedicate an entire evening of broadcast to a wholesome, classic, family musical featuring a country singer, TV star and other genre-bending performers? You bet they did, and it made for one cozy, feel good night of television.

In what world did anyone expect to see Carrie Underwood take on the role of Maria Rainer? I bet I could count on maybe three fingers any other popular musical artists who would be brave enough to do what Ms. Underwood accomplished last night. Yes, she wasn't perfect. Her vocals far outweighed her dramatic (or lack thereof) performance. But the fact of the matter is, NBC needed a star to headline this thing and I can't think of a better moment of "stunt casting." What mattered most was her genuine enthusiasm for the project was front and center and very evident throughout the night. Who is anyone to rain on the parade of someone who was courageous enough to step into a role all the while knowing she would probably receive nothing but hate and snark? My hat is off to Ms. Underwood. 

Stephen Moyer as Captain Von Trapp was stronger in the acting department, for obvious reasons, and was rather impressive vocally as well. Though his performance was hindered a tad when forced to play the dramatic scenes across from Underwood. Filling out the cast was the flawless Audra McDonald as Mother Abbess, who commanded attention and blew minds with "Climb Every Mountain." Seriously, that was some serious television magic. Christian Borle (Smash) and Laura Benanti (Gypsy) as Max and Baroness Elsa Schraeder, respectively, brought a showbiz confidence to their roles, allowing viewers to take a breath amongst the near constant fear that something was about to go horribly wrong. This was LIVE television, after-all. But surprisingly, nothing technical really did go wrong. It was a tad dark at times, and yes, I'll agree that HD cameras and TVs certainly strip a layer of cinematic grandeur away from the product but it was still a mighty impressive feat of television production.  It was exciting, risky and bold but also warm and friendly. It was evident that a lot of love and care went into it, which I admired. Broadcast TV has felt so manufactured and distanced lately, it's great to see something that takes you back to a simpler time, when enjoying something was acceptable.

Which sadly brings me to this confession: I'm so tired of internet snark, Twitter being the main offender in this case. Look, I'm guilty of a fun hate-watch every now and again but I try to only sink to that level when it's really appropriate – or at least when I think it's appropriate. To me, why would anyone feel the need to "live snark" this special? Like I said above, it was an insanely daring move for a network to make and it was refreshing and different. What do you get out of spending three hours watching something, just to rip apart every. single. detail.? I think it's safe to assume that everyone who was tweeting up a hate-watching storm last night – often without a shred of knowledge of musical theater or television production – are the same people who continuously claim to be "bored" with broadcast networks and Hollywood for not taking risks. Well look here, THIS was a risk! And look, you're still complaining! Honestly, these people must be exhausting to know in real life. Can anyone just be happy with something anymore? My bad, positivity and happiness probably doesn't lead to any new Twitter followers. 

On the flip-side, words can't describe my elation when I woke up this morning to see the mega ratings this thing brought in for NBC. Throughout its three-hour telecast, The Sound of Music Live! averaged 18.6 million viewers and a 4.6 rating in the key demo. I'm thrilled for so many reasons, one being that (like I said) this was a big risk that actually paid off for its network. This success shows other networks that risks should be taken because – if done in the right way – could definitely pay off. The Wrap broke down the ratings utilizing previous television milestones  and it's pretty spectacular.

I really hope NBC makes this an annual tradition – and given those ratings – I feel like our chances are very good that they will. Next year, I hope everyone can take a breath, put down their phones and simply enjoy it. Enjoy it with their family, friends, or by themselves, it doesn't really matter. The Sound of Music Live! reminded me that the latest tweet, status update or email isn't as important as celebrating a time when a great story and a little music was all you needed to bring people together to celebrate one of their favorite things.

UPDATED: On January 19, 2014, NBC announced they will produce another live-action musical in December '14 in the form of Peter Pan. Yaaaassss.

MOVIE REVIEW: "The Hunger Games: Catching Fire" -- Released: November 22, 2013

The sequel to last year's wildly successful The Hunger Games is here and it's superior to its predecessor in almost every single way.

I'm of two minds when it comes to The Hunger Games, the first movie, not the series as a whole. On one hand, I enjoyed it as a faithful adaptation of Suzanne Collins' novel but as a standalone film, I don't think it was as successful as it could have been. The expansive world of the novel felt very small on screen, the production design and costuming felt cheap and the ill-advised use of shakycam by director Gary Ross simply served as a way to avoid showing things that the production couldn't afford to produce. But even though it wasn't perfect, the movie was a smash hit expanding the awareness and fan-base of the series far beyond the "young adults" that first stumbled upon it in 2008. I was cautiously optimistic leading up to the release of the sequel, Catching Fire. At this point, the series was the major cog in Lionsgate's franchise wheel and there were several trials and tribulations on its expedited road to the big screen. Namely, Gary Ross' exit from the franchise and the addition of Francis Lawrence (I Am Legend) as a new director. Would all the behind-the-scenes issues and rushed production lead to another ho-hum adaptation?

Within its first fifteen minutes, Catching Fire proves its superiority to The Hunger Games. The opening scenes have a new, strong confidence about them, making it hard to not be immediately swept off your feet – the epic first shot of Katniss (Jennifer Lawrence), lush, expansive landscapes (that were never really featured in the first film), and an immediate sense of its larger world and the story it's telling. Picking up months after the events of the previous installment, Catching Fire finds Katniss haunted and enraged over her memories of the first games and torn between the two men in her life – Peeta (Josh Hutcherson), her co-victor from District 12, and her longtime friend Gale (Liam Hemsworth) – more than ever before. President Snow (Donald Sutherland, yep, still terrifying) is still none-to-pleased with the way Katniss and Peeta outsmarted the gamemakers in the 74th annual games and is keeping an eagle-eye on Panem blaming every moment of rebellion in any district on Katniss.  He pays Katniss a visit at Victors' Village, where Katniss and Peeta now reside, and warns her that during their Victory Tour, a sort of celebrity press tour all victors take after they win, she better keep up appearances as a gracious winner who is loyal to the capitol and hopelessly in love with Peeta or else deathly consequences await.

The first hour of the film is flat-out fantastic. Every scene tingles with dramatic, high-stakes politics layered within a much more engrossingly executed love triangle. Katniss and Peeta are forced to tour the districts as a happy couple, kissing and waving to the increasingly frustrated and angry districts all while the Capitol, namely President Snow, watch on sniffing out any hints of an uprising inevitably on its way. When visiting District 11, the district of Katniss' fallen friend, Rue, one of the residents whistles the iconic "Mockingjay Song" and raises his three fingers as a sign in support of Katniss and District 12. The crowd follows suit prompting the Peacekeepers to attack and execute the rebel on site. What I love about these early scenes is the insane amounts of tension and stakes the film is able to pull off – all while revealing even Katniss and Peeta are unaware of just how impactful their decision in the last games was to the districts of Panem. Katniss Everdeen is a sign of hope for the repressed districts thus morphing her into the Capitols most dangerous political target. It must be noted that Jennifer Lawrence and Josh Hutcherson both turn in improved performances here. Lawrence is at her finest when she's sticking it to President Snow and Hutcherson has an edgy, cooler confidence making Peeta more fun to be around this time. Predictably excellent are Woody Harrelson and Elizabeth Banks as Haymitch and Effie, respectively. Harrelson playing drunker yet wiser than ever before and Banks thriving in even more outlandish costumes while also getting a chance to show a deeper side to Effie.

After much chaos and confusion amongst the tour, President Snow announces a twist in the 75th Hunger Games, or the third Quarter Quell. The contestants will be reaped from the existing pool of victors. Katniss and Peeta return to the Capitol representing District 12. It's here when Catching Fire resembles the first film's structure the most. Only this time, the film has more grace and wit about itself. It flows better and moves quicker. Stanley Tucci is back as the insane, master of ceremonies Ceasar Flickerman, hosting what's now probably one of the most iconic laughs in the history of film. It's apparent Tucci's having even more of a blast this time around. New to the series is Philip Seymour Hoffman as the new head Gamemaker Plutarch Heavensbee. Hoffman is a wonderful addition and delivers his lines with a glimmer of mystique and mystery never letting the audience know exactly what game he is playing. This being a sequel, we also get to spend some more time with the other victors prior to the arena, which helps add stakes to more characters besides Katniss and Peeta. The two most anticipated by diehard fans are the two everyone will remember leaving the theatre: Sam Claflin as Finnick Odair and Jena Malone as Johanna Mason. Claflin is endearingly cocky but strong and intelligent. Mason's Johanna adds a much needed dose of comic relief while also having a few standout moments of unhinged rebellion herself.

In The Hunger Games, the "arena" felt like a section in the backwoods of North Carolina the producers had rented for a few weeks. In Catching Fire, the arena is far more complex and interesting to look at. The production moved filming to Hawaii to capture the new tropical, lush arena and it pays off big time. Lawrence stages the action in a more coherent and exciting manner than Ross was able to pull off. There's also less cutaways to the gamemaker control room, which I thought was often times laughable in the first film. A deadly fog, screaming jabberyjays, an angry group of monkeys and more also aid in increasing the stakes higher than before. Not to mention, the entire 50 minute "game sequence" was shot in IMAX and it looks pretty damn impressive. 

The one thing the film just can't quite execute is sadly one of the more integral moments – the ending. As someone who has read the books, I knew what was coming and I understand that this is the middle chapter so it's not really an ending as much as it is an ellipsis. Still, I do think they could have executed the "twist" with more panache than they did. It left me kind of miffed since everything that came before seemed to have come so effortlessly. It felt rushed and didn't have the impact I thought was necessary to leave the audience breathlessly wanting more. Not to mention, I didn't LOVE the slow, fire-burning logo to cap it off, either. A simple title-screen would have been just fine. 

Taking this all under account, perhaps Catching Fire's biggest success is that it understands that this time around, the games and the victors aren't the real story. Where the first film peaked interest with its outlandish premise, Catching Fire grasps at the deeper roots of Katniss Everdeen's story. The story of a girl who takes a stand against something she feels is wrong, not for fame or for fortune, but because she thinks it's right. Unfortunately, with her decision the fame and fortune come anyway and Panem's perception and reaction to her can change at the drop of a hat or at the whistle of four simple notes. Every revolution begins with a spark and to Katniss Everdeen, The Hunger Games have become just that, games. Early in the film, President Snow whispers to Katniss "How would you like to be in a real war?" Katniss responds quickly with a stern "no." By the end of Catching Fire, Katniss has rebellion in her eyes and an uprising to ignite and leaves the audience with a determined glare confirming President Snow will rue the day he ever challenged "the girl on fire." 

GRADE: A-

THE HUNGER GAMES: CATCHING FIRE

Directed By: Francis Lawrence

PG-13, 146 minutes

Additional Note: The Hunger Games: Mockingjay will be split into two parts. Part 1 will be released on November 21, 2014 and Part 2 on November 20, 2015. I *really* wish they weren't splitting it into two movies (the book is only 390 pages) but with this creative team, I think they just might be able to pull it off.

PARAMORE: "The Self-Titled Tour" - Anaheim, CA - 10.19.13

On Saturday night I finally got to see Paramore, one of my favorite bands, in concert at the Honda Center in Anaheim, CA. They were on their "Self-Titled Tour" in support of their 4th studio album, the self-titled Paramore, hence the name of the tour. As a fairly passionate fan, I've kept up with the trials and tribulations of the group throughout the past few years. The Farro brothers' exit and the ensuing chaos and pressure it placed upon the remaining pillars of Paramore: Hayley Williams, Taylor York and Jeremy Davis. The three handled the drama with appropriate delicacy and focused instead on the future of their music. With Paramore, it clearly showed. The album debuted at #1 on the Billboard charts and garnered near critical acclaim upon its release. The next step, their first headlining arena tour. Saturday night's show didn't fill the Honda Center to capacity, probably to be expected with it being their first full-size arena tour and all, but even though every seat wasn't filled, the passion within that room was greater than anything I've felt at most sold out concerts. The show had everything you'd expect from a massive scale production – flashing lights, huge video screens, lasers,  confetti cannons - but it also had something that I think many concerts don't – heart.

For their nearly two-hour set, Paramore owned the stage. The second the billowing black curtain dropped revealing the silhouettes of Hayley, Taylor and Jeremy against the band's emblem – a symbol meant  to represent the three members of the band and the fans and family around them – the crowd roared. What's funny is that the roar didn't really stop throughout the entire show. It stayed constant. The sheer energy in the room was really something. It was the type of concert where not a single person would dare sit down. The type of concert where everyone is there because they WANT to be there. Not a show at the Hollywood Bowl that's basically just a scene to be apart of for 50% of the crowd. Everyone is there to experience a moment with other people who share a similar passion for the band.  From the first notes of "Grow Up," the opening song and the one of the central themes of Paramore, the audience was in it, together. It's a pretty weird feeling to feel connected to thousands of people at a single moment and it's pretty weird to write about it right now, but what can I say, it happened.

The show moved very quickly with a near breathless pace that left me wondering how the hell they pull this off night after night. In the early goings, one song crashed into another as they hit all the major highlights, "That's What You Get," "Decode," "Now," "crushcrushcrush," etc. "Ain't It Fun," one of highlights of Paramore, was a total showstopper – the sheer funk and soul of the song was on full display and it hit a new level when the original gospel choir, that recorded on the album, joined in on the fun. It raged on for nearly ten minutes and lit the Honda Center on fire. Another insane moment happened when Hayley had a fan come up on stage and sing the final verse of "Misery Business" with her. Suffice to say, it was awesome.

The band eventually slowed things down. Hayley addressed the crowd and blamed "the band catching up on Breaking Bad" as the reason for their 3-year absence from Anaheim. In that moment, my love grew even deeper for her, which I didn't think was possible. Of course, the crowd knew the real reason for the band's absence, but that didn't matter to them. Hayley introduced "Last Hope" with a heartfelt comment that touched upon that very reason. "We wrote this next song while inspired by that moment in life where you aren't sure where your next step is going to be, or if you can even survive it, but if you hold onto that glimmer of hope or 'spark,' you'll push through the fog and see the future that awaits." It was a raw moment that silenced the crowd and one that resonated with a lot of people, in severely different ways, I'm sure. For how loud it had been, the silence meant even more.

I had recently read an interview with the band where they detailed how their shows are different. It's not just a concert for their fans, but a time to express to their fans how much they mean to them and how they are basically one big family that support each other. I believe Hayley said most people come away surprised to see how emotional the experience is. After experiencing it for myself, I totally agree. For how big the production design was, it never felt empty or soulless. It was filled with passion and I've never quite experienced anything like it. A crowd of thousands united by a sound, a lyric, a note. I think the night meant a lot of different things to different people but it was evident that everyone leaving got what they wanted. I certainly did.

source: http://little-paramonster.tumblr.com 

Paramore's "The Self-Titled Tour" continues through the remainder of 2013, including a date at Madison Square Garden. Click HERE for tickets. 

TV REVIEW: "American Horror Story: Coven" -- Premiered: October 9, 2013

"There are no shadows, not anymore..."

FX's anthology series returns with a b-witching hour that I'm sure thrilled its fans and left the uninitiated with a serious case of whiplash. Also, Jessica Lange said "Twitter" unlike anything I've ever heard.

Let's get something out of the way, I love American Horror Story. I've loved it since its twisted, wild premiere back in October 2011. It would have to do a lot of things wrong for me to object to whatever batshit insanity Ryan Murphy and Brad Falchuk, the creators, are feeding me. I get that a lot of people don't like it, and it's certainly not for everyone, but when the show clicks, there is quite honestly, nothing like it on TV. Wednesday's premiere, Coven, the show's third season, had everything AHS fans have come to love about the series. Historically (accurate?) flashbacks, over-the-top characters with insane personalities and a hint of  emotional depth to be dealt with later, and balls-to-the-wall filmmaking that features more tricks and treats than Halloween. Suffice to say, I'm glad it's back.

Set in New Orleans in the 19th and 21st centuries, Coven begins with arguably American Horror Story's most horrifying sequence to-date. It's 1834 and Madame LaLaurie (Kathy Bates) is hosting a dinner party of sorts. Unbeknownst to her guests, in the attic of her home, LaLaurie hosts a different kind of party – a prison full of tortured slaves. Imprisoned for punishment or sadistic pleasure, she uses the blood from their wounds (and other things) as a face-mask to better preserve her youth. Oh, and did I mention she makes an actual minotaur out of one of the them? It's disgusting and disturbing and just when you think you can't take the horrific imagery any longer, the opening credits roll. Not like it matters, Coven's opening credits are just as creepy as the show itself, complete with the instantly iconic AHS theme song. The graphics change every season but the music stays the same, albeit with some slight alterations. It's grown to be such an integral part of the show, Ryan Murphy revealed the credit sequence two weeks prior to Wednesday's premiere.

From there, we flash-forward to present day where things don't get any less weird. Zoe (Taissa Farmiga) is gettin' funky with her boyfriend and just as things start to heat up, boom, the boyfriend starts convulsing, blood bleeding and bursting from his eyes and nose. And... dead. She kills him while having sex. Weird. She must be a witch. That's basically how quick things move and it's something the AHS audience has come to expect. Spare us the set-up, let's get to the goods. In lieu of further conversation with her mother detailing the history of witchcraft in their family, we're treated to a brief expositional monologue while Zoe travels, by train, to The Big Easy. The train ride immediately calls to mind Harry Potter and Farmiga's dry delivery while riffing on the history of witchcraft in her family feels very reminiscent of Twilight. The proceedings give the opening minutes of the premiere a much younger feel than the first and second season but things mature as the hour progresses. Upon arriving in New Orleans, Zoe lands at the front gate of Miss Robicheaux's Academy for Exceptional Young Ladies, a school for witches in training, and Zoe's new home.

Upon entering the mansion, Zoe meets Nan (Jamie Brewer), Queenie (Gabourey Sidibe), and Madison Montgomery (Emma Roberts). Zoe recognizes Madison from her days as a young Hollywood starlet, ya know, before becoming a witch. The three of them don't exactly but what can you expect when you force three young witches, all with different powers, to live together. The headmistress of the academy, Cordelia Foxx (Sarah Paulson [yay!]), formally welcomes Zoe and explains the origins of the school along with the some necessary mythology AHS has concocted for Coven.  Going forward, it appears the most important concept is the idea of "The Supreme" witch, a once in a generation all-powerful witch who possesses all witch-ly powers and in turn is the most feared amongst the society.

Enter the current reigning supreme, and Coredelia's mother, Fiona Goode (Jessica Lange), who after a brief visit with a special doctor in Los Angeles, returns to New Orleans after hearing of a recent modern-day witch being burned at the stake. She was in L.A. seeking the latest and greatest medicine to restore her youth – to no success. You see, the one power Fiona doesn't have is the power of never-ending youth. It's obvious Cordelia and Fiona do NOT get along and there's a hint at a very rocky past between them. Another big riff they both disagree on is how Miss Robicheaux's should be run. Fiona thinks the girls shouldn't hide who they are, that they need to fight for their witch rights, while Cordelia thinks that keeping quiet and living anonymously amongst the population is the best course of action. Lange and Paulson are incredible in their first scene of the season together. Their relationship, so full of contempt and misery is the first sign of the sadness that often surrounds the characters within the American Horror Story universe. On the outside, it's a fantastic bitch fight, but when Coredlia says bluntly to Fiona, "When are you gonna die already?" it strikes a different chord with the audience, and it's kind of heartbreaking. Cordelia neglects Fiona's advances as she declares "a storm is coming..." and that these witches can't hide in the shadows as there are no shadows anymore hint at a big through-line of the season. Is anyone safe from public scrutiny and can secrets even be kept in a society that has risen to value being constantly connected at all times? Are our shadows gone, too? It should also be noted that Jessica Lange's line delivery of "Twitter" in this scene breathed new life into me. It was incredible. Iconic. 

Outside of the premiere's cold open, the other equally disturbing scene arrives when Madison and Zoe, who Madison has deemed her new best friend, attend a frat party at a nearby college campus. It's here where Zoe meets one of the frat boys, Peter (Evan Peters), and they instantly take a liking to one and other. They are given a pretty dramatic introduction where they gaze upon each other through an ice sculpture. It's a fancy frat party, okay?! It's fun seeing Taissa Farmiga and Evan Peters back on screen together since their love story was one of the biggest stories of American Horror Story's premiere season. Sadly, the swooning doesn't last long. Madison ends up getting drugged and raped by a group of frat bros, excluding Kyle, who don't take a liking to her attitude. It's horrifying to say the least. The scene is shot intensely without getting overly graphic and it doesn't need to. The idea and quick cuts alone are enough to make your stomach turn. This after all, is an American horror that is all too real for many people. Kyle walks in the group and is disgusted. He grabs his boys and they all sprint out of the house to their bus. Madison stays  on the bed, defeated. Once Zoe finds her, she slowly rises in rage. Does she think she let this happen to herself? She was defenseless after all. The thing is, now she's not defenseless, she's a witch, rising from the ashes. The two leave the house and run towards the fraternity bus careening down the street. With a flick of her wrist, Madison sends the bus tumbling, flipping down the street. It's a violent crash that all but confirms the entire bus has come to a tragic end. For the audience, it's kind of awesome. It's one of several moments where Coven plays off an extremely serious moment with a wink and maybe a bit of a laugh. Your results may vary, but I happen to love these kinds of moments. They don't always land but when they do, it's glorious. Yes, rape is an incredibly serious issue that needs to be handled with care, but allowing the victim to fight back and feel empowered is something else entirely and something I think Coven will deal with a lot this season. An exploration of feminism and what can happen when a person takes control of their own decisions and the future in front of them. 

There is a LOT of other stuff that happens throughout "Bitchcraft," the title of the premiere. More history is quite literally "dug up" in a fantastic final twist to end the hour. I won't spoil it here but let's just say, the characters of New Orleans in the 19th and 21st century might not be too far removed from each other after all. The season premiere hints at a lot of things to be explored: the attempt to gain power, the lengths you will go to attain it, and what happens when you do. Additionally, the importance of youth in our culture, the supposed "evils" of growing old, the effects of oppression throughout American history, and finally how long someone can be beat down before losing it all in rage and perhaps, dropping a house on someone? That's a lot of stuff. But what I find so fascinating about American Horror Story is how these themes slowly reveal themselves and their impact through the season while you're too busy focusing on its insanely impressive cast or its arresting images. The show puts a lot of emphasis on the slickness of its presentation, and its production value is one of the highest on television, but it all means nothing if the show isn't saying anything grander than what it's presenting. Luckily, in this case, I think the smoke and mirrors will clear and reveal that Coven has a lot to say. 

GRADE: A-

Stray observations: 

• Jessica Lange had so many epic one-liners it was impossible to keep track throughout the episode. She commands attention and the writing for Fiona is flat out fantastic. "The world isn't going to miss a bunch of assholes in Ed Hardy t-shirts" "You were being a little witch-bitch..."
• I loved Fiona's quick reference to her visit to Los Angeles. "It's tragic, the glamour's gone, they put a shopping mall on Sunset and Vine." Jessica Lange has such an amazing way of evoking rich history in her delivery. Also, props to Ryan Murphy & Brad Falchuk who penned the episode.
• I didn't mention Angela Bassett or Frances Conroy's characters here as they have a very brief introduction in the premiere. To put it simply, they are dressed in the most insane outfits and they are probably going to be bad ass.
• Based off the premiere, Coven is definitely much lighter than last year. I loved Asylum but boy was it tough to sit through at times, though I do think Coven will grow darker as the season progresses.

TV REVIEW: "Masters of Sex" -- Premiered: September 29, 2013

"This study is the scandal..."

Showtime's Masters of Sex premiered last Sunday. Sadly, its premiere was kind of overshadowed by another acclaimed cable drama series that ended its five season run on the same night. You may have heard of it. I don't know, bitch! But I'm not here to write about that. I'm here to write about this amazingly new, brave, fresh, and quite frankly, astonishing new drama series that just knocked my socks off.

Michael Sheen stars as Dr. William Masters, an ob-gyn at the Washington University in St. Louis, who is rather driven in his study of the underlying meaning and physiology of what sex means to those who experience it and the culture surrounding it. From the early goings it's evident that Masters is a brilliant, progressive man who doesn't take no for an answer. He is the master of his domain in the workplace but his relationship with his wife, Libby, suffers for it. Of course, Libby and Masters are attempting to have a child so if there was ever a time he needs to be present with his wife, it's now. What's striking is that Masters is full of life, passion, and energy in the workplace but in his moments at home with his wife, including an incredibly awkward sex scene, he transforms into a lifeless, nervous being incapable of feelings. After the aforementioned sex scene, featuring all the awkwardness of a middle school dance, Dr. Masters' wife looks up to him as he goes to return to his own bed (yes, they have seperate beds) and asks, "What do you see when you look at me?" He responds simply with "love." It's a heartbreaking moment. It appears he's genuine with his response, but in that moment, "love" is just a word and not something he feels. It's almost as if he thinks that's what he's supposed to say in that moment, so he does. Sheen is so perfectly calculated in his performance that after the pilot alone, he will hands down be in the running for an Emmy award next year. He's THAT good and something tells me we haven't even skimmed the surface of Dr. Masters or Sheen's performance.

Of course, with Dr. Masters embarking on this journey, he is in need of an assistant! Enter Virginia Johnson, a perfectly cast Lizzy Caplan, a former jazz singer turned secretary. Masters takes a special interest in her, casually observing her interactions in the hospital's administration unit as he makes his way in and out of the office. Eventually, one day he corners her into "interviewing" for the new role as his assistant. In this case, "assistant" means business partner in the industry of the ins and outs of the female orgasm and all the sexy details that go along with it. She impresses him with her witty and honest commentary throughout the interview. At one moment, Masters asks her bluntly "Why would a woman fake an orgasm." She responds "to get back to whatever else she wants to do be doing." It's fantastic scene work by both Sheen and Caplan. Their chemistry crackles with the aid of the expertly written screenplay by Michelle Ashford. I giggled, yes GIGGLED with delight while the two shared the screen. It's a serious show about very serious, scientific, and political matters but it doesn't forget to have fun along the way.

The pilot breezes by quite quickly. It's beautiful to look at and every scene is engaging. After all, these are rather normal people at the outset of an extraordinary adventure of discovery. There are many wheels in motion but at the center of it all is Masters. A terribly broken man full of sadness but also full of drive and passion for his work and his belief. It is with Virginia, or Ginny for short, that Masters first smiles in the episode. It's beaming and genuinely happy. In turn, it's horribly depressing. What's preventing him from smiling at home, with his loving wife? The final scene is also probably one of the most mind-bending cliffhangers I've seen and yet it simply comes about during a conversation between Masters and Virginia, in a dark office while Masters is completing paperwork. Basically, Masters thinks that to keep their results as accurate as possible, the two of them should have sex, for science. Virginia is caught of guard, as she should be. Masters clearly looks at the act of sex as a piece of science while Virginia, like the rest of the world, is still in the thinking that sex is an extremely intimate act performed for love, fun and everything in-between. It's a tense scene and Virginia leaves Masters' office suggesting she will need time to think about it over the weekend. Masters obliges and returns to his paperwork. Once the door is closed and Virginia is gone, he stops writing and rubs his face in what appears to be frustration. Perhaps, this has all moved far too quickly. Perhaps, he is starting to realize there might be more to sex than he thought.

GRADE: A

Stray observations:

• I didn't mention Margo Martindale above. She was fantastically funny as Masters' secretary who isn't quite ready to venture into the journey of sex with him. She reminded me how much I miss The Americans on FX. Come back, The Americans!
• I also didn't delve into the subplot of Virginia and Dr. Ethan Haas at all. A lot of juicy stuff but it was all kind of predictable. 
• Wow, there is a lot of nudity in this show. I mean I was expecting it, but just, wow.
• I am predicting an epic title credits sequence to start in Episode 2. We shall see.

TV REVIEW: "Marvel's Agents of S.H.I.E.L.D." -- Premiered: September 24, 2013

Well, it's here, whether we needed it or not.

Marvel's Agents of S.H.I.E.L.D. is hands down the most anticipated and closely guarded pilot of the new fall season. It's also hands down the pilot with the most obnoxious and ridiculously crafted title, too. I love Marvel and I love superhero movies but I was never fully onboard with this idea. Even with the auspices attached, I couldn't bring myself to believe this show was going to be any more than a rote procedural with enough references to popular things to make it interesting. Come to find out, I think that's exactly what S.H.I.E.L.D. is and is going to be.

The opening of tonight's pilot, after a weirdly written intro, which of course shamelessly uses footage from The Avengers to make it feel more appropriately epic, is supposedly set in Eastern Los Angeles. If by Eastern Los Angeles, they mean the most stark (no pun intended), and half set-dressed backlot available for use in LA then they are correct. The scene feels empty and anemic, hardly the setting you want to hit your audience, who have come to expect $250 million dollar production value, with right out of the gate. The scene introduces the us to its first "superhero," or the first person in the series who is on his way to realizing he might want to be or has the potential to be a superhero. There's an explosion and he scales a wall and it looks OK. Look, I understand that this is a TV show and there are limits, you can't knock a show too much for it's audacity and courage, but this is the pilot, the very first thing you are showing your audience, you shouldn't have any "oh, that could have looked better" moments. Leave those for the episodes that will surely come later down the line.

After the brief prologue, we cut back to S.H.I.E.L.D. business and the re-introduction of Clark Gregg's Special Agent Coulson. Of course, he died in The Avengers and his return here is no surprise, thanks to the nature of needing the star of a TV show to promote said show, and also ABC's relentless marketing campaign. Sadly, fans hoping for some incredible reasoning as to WHY he is alive and well will be disappointed, as the logistics of it all are kind of tossed in a "we'll talk about it later" basket. I happen to love Clark Gregg and Agent Coulson. He's a nerdy, average looking bad ass that I think a lot of Marvel fans relate to. Oh god, that sounded so sad. Whatever, it's true. His introduction is handled with a perfectly calculated Joss Whedon-y scene – two characters are talking and the time for a dramatic entrance arrives so Coulson steps from the shadows between them: "Sorry," he explains. "That corner was really dark and I couldn't help myself." Good stuff.

One of my main concerns is how this pilot works for someone who isn't knowledgable about anything related to the Marvel universe. For instance, I spoke with my Mom on the phone this morning and she mentioned the show. So yes, ABC has done their job making people AWARE that this thing exists, but I can't imagine her understanding any of this nonsense if she decided to tune in. Yeah, they try and explain stuff. S.H.I.E.L.D.'s mission is to survey the population for superheroes, supervillains, and monsters and decide if they are a threat to humanity or if they could use them for the greater good. I'm sure eventually someone corrupt will invade S.H.I.E.L.D. and want to use them for evil but I'll give them a few episodes before those shenanigans begin. "We're the line between the world and the much weirder world," Coulson explains. When you boil it down, it's actually pretty simple, but I imagine the non-initiated to be a tad confused by the end of the hour. I'm sure this question is one of the biggest things plaguing ABC and Marvel and I'm positive it has been brought up in many an executive meeting. If Agents of S.H.I.E.L.D. is too broad, it will turn off the Marvel-obsessed fanboy contingent and if it's too detailed it will turn away the majority of the wide-audience and become a cult-"hit" with 4 million weekly viewers by February.

Most of tonight's premiere is exposition and scene-setting and character introduction. Sadly, mostly everyone fades into the surroundings a little too much. Outside of Coulson, the S.H.I.E.L.D. crew is just your generic group of nerdy, BUT ATTRACTIVE, misfits who talk in exposition A LOT. They have accents and are basically just story engines at this point. We do get to learn a bit more about a hacker (Chloe Bennet) who joins the agency in the pilot and is the only one to assert some spunk and sass into the proceedings. I'm sure we will get to know more about them as things develop but for now I wasn't particularly invested in any of their stories or who they are outside of S.H.I.E.L.D.

After tonight's premiere, I'm mixed on where I end up with my overall opinion. I didn't really like the show I just watched. It was kind boring and kind of forced but there were also a few moments that ignited a little bit of a spark. A spark that leads me to think the show might find a way to be more than your average procedural with popular references. Within the Marvel universe, the possiblities are pretty endless and the show can have a lot of fun blowing some minds with clever correlations between S.H.I.E.L.D. and the expansive Marvel timeline. For our sake, I hope it does! I hope they find a way to make it work and have it be more exciting than the pilot was. But based on these initial 45 minutes, it looks like all this fanfare might just become a bridge to close the gap between the release of the next Marvel blockbuster. I mean, you did see that 2-minute trailer for Thor: The Dark World in one of the ad breaks, right?

GRADE: C  (for #CoulsonLives and ya know, being average.)

Stray observations:

• Typing out Marvel's Agents of S.H.I.E.L.D. is a level of torture I never thought existed. Seriously, the worst.
• I think the show is going to do HUGE business in the ratings tomorrow morning. Like, probably one of the biggest premieres in recent history. I also think that the situation will be very different in a few months. This could easily be the next Revolution.
• Can you name another show that is premiering on ABC this fall? Nope? Me neither.
• How weird was it when the ABC promo guy said "You don't want to miss the end of every episode!" Umm, okay? I'll miss the first half then?